DOCSLIB.ORG

Tour the New NYC Art Gallery Industry Insiders Have Their Eyes On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tour the New NYC Art Gallery Industry Insiders Have Their Eyes On ART + AUCTIONS Tour the New NYC Art Gallery Industry Insiders Have Their Eyes On Alexander Berggruen debuts—with a show featuring John Baldessari, Ed Ruscha, Jonas Wood, Emily Mae Smith, and Richard Prince—in a renovated historic space on Manhattan’s Upper East Side By Liddy Berman Photography by Dario Lasagni At just 31, Alex Berggruen is one of the few who claim a lifetime’s experience in the art world. The third generation in a family that includes art-collector patriarch Heinz Berggruen, whose collection forms the core of Berlin’s Berggruen Museum, and Alex’s parents, John and Gretchen Berggruen, who have run San Francisco’s Berggruen Gallery for almost 50 years, Alex is carrying on the family legacy by opening his own gallery space on Manhattan’s Upper East Side today. 10 HAWTHORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 [email protected] BERGGRUEN.COM “I was lucky to be able to travel with my parents to certain art fairs and on trips to see collectors and museums, and to learn bits and pieces of the trade through visiting their gallery and meeting artists along the way,” Berggruen recalls when asked what inspired him to open his own space. Studying at Yale and then working at Christie’s deepened his passion for the art world. “I fell in love with the scholarship, the business, the market, and the collectors and colleagues in the art world,” he admits. The new gallery occupies a floor at 1018 Madison Avenue, a historic Beaux Arts building on the Upper East Side of Manhattan. After scouring listings in search of a home for his first independent gallery venture, a lucky chat with the space’s previous tenant, David Nash, of Mitchell-Innes & Nash Gallery, offered the perfect solution—a prestigious gallery space at 1018 Madison Avenue’s historic Beaux Arts building, complete with an Alexander Calder–designed sidewalk installation to greet art- loving visitors out front. 10 HAWTHORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 [email protected] BERGGRUEN.COM Architects Ellee Lee and JJ Yeo of &fold architecture, both veterans of Robert A.M. Stern, were brought on to spearhead the renovation of the space, with Jennifer Weiss, the architect behind Berggruen Gallery in San Francisco’s recent renovation, consulting. “Inheriting an existing space is always a challenge,” explains Yeo. “In this case, we were presented with a gallery that was more about an idea of rooms that one would enter sequentially, a sort of procession—at times, it felt almost mazelike. After much discussion, Alex agreed to completely open up the space by removing the majority of the interior walls.” The space was refashioned by architects Ellee Lee and JJ Yeo of &fold architecture. “While somewhat counterintuitive, as doing so reduces the space to hang artwork, the value that the added daylight brings to the space and the experience of viewing art makes it worthwhile,” Weiss agrees. This innovation, combined with clean white walls, sleek and eco- friendly LED adjustable track lighting, cleverly hidden doors, and subtle fixtures, gives the space an expansive, light-filled feel and a minimalist elegance that allows the artwork to shine. “We very much wanted to imbue the gallery with a sense of warmth, while still being able to play host to a wide breadth of art on its walls,” Lee explains, highlighting the newly restored wood floors, painstakingly filled in with unstained, carefully milled timber by New York's Signature Builders. The floors kindle a feeling of domestic warmth, bringing comfort and familiarity to the space, along with the subtle creaks and susurrations of wood that sometimes make it feel like a living being responding to the elements around it. 10 HAWTHORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 [email protected] BERGGRUEN.COM Another interior view of the clean white space, whose current show is entitled Words. The renovations have created a wonderful framework for the opening show, entitled Words, which explores “the development of language and linguistic thought throughout the 20th century as a linking concept for modernism and the contemporary canon,” says Berggruen. Featuring works created as early as 1913 to as recently as 2019, the show, like the new space itself, celebrates finding harmony by balancing history with the present. Works by acclaimed California artists John Baldessari and Ed Ruscha share wall space with pieces by young talents Jonas Wood and Emily Mae Smith, and works from Georges Braque and Paul Klee play with text in surprising and deft ways cleverly juxtaposed with a 1980s Richard Prince In drawing out the connections between past and present works and finding shared themes across a broad span of time, Berggruen constructs art history backwards and forwards, illuminating the historical framework that underlies contemporary works while also recontextualizing historic works. A similar philosophy guided the renovation of the gallery space, balancing a respect for the past with the promise of the future. 10 HAWTHORNE STREET SAN FRANCISCO CA 94105 TEL 415 781 4629 [email protected] BERGGRUEN.COM .
Load more

Recommended publications
  • Design Competition Brief
    Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review .................................
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Ar204 Art and Interpretation
    AR204 ART AND INTERPRETATION Art and Aesthetics Module: Art Objects and Experience Fall 2019 Seminar Leader: Geoff Lehman Course Times: Wednesday, 9:00- 10:30 and Friday, 10:45-12:15 (9:00-12:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others).
    [Show full text]
  • Kunsthändler Und -Sammler Art Dealers and Collectors
    Kunsthändler und -sammler Art dealers and collectors Die Eigentümergeschichte der Kunstwerke aus dem Bestand des Museum Berggruen bildet das Leitmotiv der Ausstellung. Die Namen derer, die mit e history of ownership of the artworks from the collection of the Museum den Werken in Berührung kamen oder deren Eigentum sie waren, lesen sich Berggruen is the leitmotif of the exhibition. e names of those who came wie ein „Who is Who“ der Kunstwelt der ersten Häle des 20. Jahrhunderts: into contact with the works or who owned them read like a "Who's Who" of Kunsthändler wie Alfred Flechtheim, Paul Rosenberg, Daniel-Henry Kahn- the art world of the rst half of the 20th century: Art dealers such as Alfred weiler oder Karl Buchholz, die Klee-Enthusiastin Galka Scheyer sowie die Flechtheim, Paul Rosenberg, Daniel-Henry Kahnweiler or Karl Buchholz, Sammler Alphonse Kann, Douglas Cooper und Marie-Laure Comtesse the Klee-enthusiast Galka Scheyer as well as the art collectors Alphonse de Noailles. Kann, Douglas Cooper and Marie-Laure Comtesse de Noailles. Die Kunstwerke rufen damit nicht nur ihre Besitzer und Eigentümer in e artworks do not only remind us of their owners and proprietors, whose Erinnerung, deren Lebensgeschichte in historische Ereignisse eingebettet biographies is embedded in historical events. eir provenances also express ist. Ihre Provenienzen drücken auch die Vielfalt der emen aus, welche die the variety of themes that shape the history of 20th century art: the popula- Geschichte von Kunst im 20. Jahrhunderts prägen: die Popularisierung der risation of Modernism, the development of the international art market, the Moderne, die Entwicklung des internationalen Kunstmarktes, die Emigra- emigration of art dealers and collectors and the translocation of artworks, tion von Kunsthändlern und Sammlern und die Translokation von Kunst- the art policy and the art looting of the National Socialists between 1933 werken, die Kunstpolitik und der Kunstraub der Nationalsozialisten and 1945.
    [Show full text]
  • Fiberartoral00lakyrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Gyongy Laky FIBER ART: VISUAL THINKING AND THE INTELLIGENT HAND With an Introduction by Kenneth R. Trapp Interviews Conducted by Harriet Nathan in 1998-1999 Copyright 2003 by The Regents of the University of California has been Since 1954 the Regional Oral History Office interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Gyongy Laky, dated October 21, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Museum Berggruen Di Benedetta Baldessarelli E Margherita Savino Indice
    Museum Berggruen di Benedetta Baldessarelli e Margherita Savino Indice • Heinz Berggruen (1914 -2007) • L’Edificio e i recenti restauri • La collezione • 1. “Picasso ed il suo tempo dal 1897 al 1972” • 2. L’organizzazione • 3. Gli altri artisti e Picasso • Confronti • Osservazioni Heinz Berggruen (1914 Berlino -2007 Berlino) Heinz Berggruen con il dipinto di Pablo Picasso “Large Reclining Nude” del 1942 (il dipinto è esposto al primo piano del museo) Cenni biografici • Mercante d'arte e collezionista • In America, l’uomo – di genitori ebrei – si era rifugiato nel 1936 per sottrarsi al regime nazista. • Arrivò nel 1947 a Parigi, dove aprì la sua prima galleria d'arte. Nella capitale francese diventò famoso grazie alla sua professione di gallerista e alla sua amicizia con Pablo Picasso. • Nel 1980, decise di abbandonare la direzione della rinomata Paris Gallery per dedicarsi soltanto all’acquisto di opere. • Dopo la morte (2007) i suoi quattro figli e la moglie Bettina annunciano la loro intenzione di supportare il museo. “Il primo quadro che ho acquistato in vita mia fu un lavoro di Paul Klee – racconta H. Berggruen, “avevo 25 anni ed ero in viaggio di nozze da San Francisco a New York… A Chicago mi offrirono un acquerello del grande pittore…Era intitolato Perspektiv Spuk (Fantasma), era di piccole dimensioni, del 1920 e lo pagai 200 dollari, e per me fu l’inizio di una storia d’amore. Paul Klee, Perspektiv Spuk (1920) L’Edificio e i recenti restauri Il Palazzo Stueler, che ospita la collezione Berggruen, si trova nel quartiere di Charlottenburg (di fronte al castello), nella zona Ovest di Berlino.
    [Show full text]
  • Modern Paintings, Drawings, Sculptures : Arp
    Modern paintings, drawings, sculptures : Arp ... [et al.], donated by private collectors, artists and American & European dealers for the benefit of the Thirtieth Anniversary Fund of the Museum of Modern Art, New York : public auction ... April 27 ... Parke Bernet Galleries, Inc., New York, 1960 Date 1960 Publisher Parke-Bernet Galleries, inc. Exhibition URL www.moma.org/calendar/exhibitions/3407 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art FIFTY MODERN PAINTINGS AND SCULPTURES ESPECIALLY DONATED FOR THE BENEFIT OF THE 30TH ANNIVERSARY FUND OF The Museum of Modern Art NEW YORK PUBLIC AUCTION WEDNESDAY APRIL 27 AT 8:30 P.M. PARKE-BERNETGALLERIES INC 980 MADISON AVENUE NEW YORK 1960 MUSEUMO? MODERN PAINTINGS DRAWINGS SCULPTURES ARP BRAQUE CEZANNE CHAGALL DUBUFFET GIACOMETTI GRIS JAWLENSKY KANDINSKY KLEE LEGER MAILLOL MATISSE MIRO MOORE PICASSO PRENDERGAST RENOIR UTRILLO AND OTHER NOTABLE ARTISTS DONATED BY Private Collectors Artists and American& EuropeanDealers FOR THE BENEFIT OF THE THIRTIETH ANNIVERSARY FUND OF The Museum of Modern Art NEW YORK Public Autlion Wednesday April 27 at 8:30 p. m. PARKE-BERNET GALLERIES INC New York i960 MOlfllN* ART LIBRARY EXHIBITION AND SALE AT THE PARKE-BERNET GALLERIES INC 980 Madison Avenue New York 21 TRAFALGAR 9-83OO Public Exhibition — Admission $1 Saturday, April 23 from 10 a.m. to 5 p. m. Sunday, April 24 from 2 to 6 p. m. Monday, April 25 from 10 a.
    [Show full text]
  • For Immediate Release George Condo
    FOR IMMEDIATE RELEASE GEORGE CONDO: NEW WORKS OPENING RECEPTION: APRIL 27, 6-8PM 20 East 79th Street, New York Skarstedt is pleased to present George Condo: New Works, an exhibition of new sculptures and paintings on view from April 27 – June 24, 2017 at Skarstedt Upper East Side, 20 East 79th Street, New York, NY 10075. In December 2014 Condo began working on Origin, a small wood sculpture he hand-painted, cut, and glued together. Origin soon became the subject of three larger-scaled variations in bronze. These variations represent a return to methods of sculpting that the artist first took up with his earliest three-dimensional works in the late 1980s—using wood, clay, plaster, paint, fabric, and found objects to create bronze sculptures that incorporate both figurative and abstract elements. Here we see Condo’s concept of the “simulated found object,” which he explored in his earliest exhibited paintings in the 1980s, combined with the use of real found objects from his studio into entirely new figurative forms in bronze. Condo cuts, screws, and hinges together flat surfaces of plywood into angular figurative representations then applies layers of plaster, clay and paint squeezed directly from the tube, “knowing that once cast in bronze all of my markings will remain present and be reinvigorated in the patinated surfaces,” the artist says. Writing in 2015 on the subject of what he referred to as Condo’s “unedited human disasters,” Simon Baker described his sculptures as having: “the barest suggestion of anatomical specificity barely distinguishable from the raw materials from which they were produced, but as with Condo’s work in every medium, openly manifesting a dramatic and irrepressible joy in the process of production.” (Simon Baker, Painting Reconfigured, pg.
    [Show full text]
  • AR204 Art and Interpretation
    AR204 Art and Interpretation Art and Aesthetics Module: Art Objects and Experience Fall 2018 Seminar Leader: Geoff Lehman Course Times: Wednesday,14:00- 15:30 and Friday, 14:00-15:30 (until 17:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others).
    [Show full text]
  • The Metropolitan Museum of Art
    T H E M E T ROPOLI T A N MUSEU M O F A R T Annual Report for the Year 2006–2007 The Metropolitan Museum of Art One Hundred Thirty-seventh Annual Report of the Trustees for the Fiscal Year July 1, 2006, through June 30, 2007 Presented to the Corporation of The Metropolitan Museum of Art November 13, 2007 The Board of Trustees November 1, 2007 Chairman Emily K. Rafferty Henry B. Schacht Ex Officio Ex Officio Daniel Brodsky James R. Houghton President, The Oscar Tang James R. Houghton James R. Houghton Vice Chairman Metropolitan Museum Lulu C. Wang Philippe de Montebello Philippe de Montebello Mrs. Herbert Irving Vice Chairmen of Art Shelby White Emily K. Rafferty Emily K. Rafferty William C. Rudin S. Parker Gilbert Henry B. Schacht Annette de la Renta Trustees Emeriti Advisory By invitation By invitation Shelby White Leonore Annenberg Henry B. Schacht Walter Burke John Beck Sally Minard Ex Officio Placido Arango Mrs. Henry J. Heinz II Peter Sacerdote Elective Trustees Mrs. Jackson Burke external affairs James R. Houghton George B. Munroe legal Term Ending Walter Burke Robert M. Pennoyer Allan Weissglass Philippe de Montebello September 2008 Richard V. Clarke E. John Rosenwald, Jr. Robert D. Joffe Chairman Emily K. Rafferty Paula Cussi Daniel P. Davison Arthur Ochs Sulzberger Chairman James J. Ross By invitation Conrad K. Harper Peter H. B. Frelinghuysen Jayne Wrightsman Conrad K. Harper Vice Chairman Mrs. Henry J. Heinz II George B. Munroe Daniel Brodsky Peter Lehrer Eliot C. Nolen Robert Sanna Cynthia Hazen Polsky Sir Joseph E.
    [Show full text]
  • Picasso's Sculpture Head of a Woman
    PICASSO’S SCULPTURE HEAD OF A WOMAN (FERNANDE) 1909: A COLLABORATIVE TECHNICAL STUDY Renzo Leonardi • Derek Pullen • Colloque Picasso Sculptures • 25 mars 2016 Laser equipment, scan, photogrammetry and data elab- oration by: Erica Nocerino, Fabio Menna, Belen Jime- nez Fernandez-Palacios, Alessandro Rizzi, (Fondazione Bruno Kessler 3DOM Lab, Trento, Dir. F. Remondino). today is known as Head of a Woman (Fernande), or simply Fernande. According to his own inscription he two plaster sculptures that are the main sub- on the back of a photograph,3 Picasso modelled the Tject of this essay were first exhibited together in sculpture in the studio of his friend, the sculptor October 2003 at the National Gallery, Washington Manolo (Manuel Hugué). But it was sometime later, DC. (fig 1) In her seminal essay “Process and Tech- at an unknown date, (Fletcher suggests “in or soon nique in Picasso’s Head of a Woman (Fernande)” in after September 1910”), that the art dealer Ambroise the catalogue of the exhibition1, Dr Valerie Fletcher, Vollard purchased the model from Picasso, together chief curator at the Hirshhorn Museum, qualified her with the rights of reproduction. insights into the sculptures with, “bear in mind that Even in the absence of detailed documentation, it is no scientific analyses have been done on any of the possible to outline the probable steps by which the works discussed—perhaps my efforts will engender original model was transformed into the first bronze. such examinations in the near future”. We describe The clay4 model was probably destroyed (washed how we accepted her challenge and, drawing on her out from a plaster “waste” mold) during the process initial research, investigated the two plaster casts and of making the master or primary plaster.
    [Show full text]